Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

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Bach's Solo Cello Suites are unsurpassed masterpieces. depicting a complex universe of spirit, thought and human emotion. The inventiveness, breadth of wisdom and unsurpassed beauty of Bach's intention are represented in this intensely personal ne ...» More

'Thoughtful, respectful, inspirational playing, a perfectly-placed recording, stimulating notes … this is a fine achievement' (BBC Radio 3 CD Review)'Some of the best Bach playing I've heard since Casals' (BBC Radio 3 CD Review)» More

Jonathan Freeman-Attwood's ‘A Bach Notebook for Trumpet' is a celebration of the music of the famous Johann Sebastian and ten other lesser-known Bachs, re-imagined for the combination of trumpet and piano.» More

In 1931 the pianist and muse Harriet Cohen invited all her principal composer friends each to make an arrangement of a work by J S Bach for inclusion in an album to be published by Oxford University Press. Published as A Bach Book for Harriet Cohe ...» More

The pianist and Bach scholar Herbert Fryer (1877– 1957) studied at the Royal College of Music and subsequently in Berlin with Ferruccio Busoni. Afterwards he taught at the Royal College of Music until his retirement in 1947. He composed piano pieces, songs and light music miniatures but is probably best known for his Op 22 Bach transcriptions, issued in 1932 as Five Transcriptions from Bach, each one dedicated to one of his many piano pupils. These are notable for being drawn exclusively from the unaccompanied Cello Suites, recasting single-line works as fully harmonized piano pieces, rather as Leopold Godowsky had done with Bach’s unaccompanied Violin Sonatas. No 4 of these transcriptions, dedicated to Theodlinda Calburn, is the Sarabande from Bach’s Suite No 6 in D major, BWV1012, a piece ineluctably bittersweet despite its major mode. Bach himself had already richly harmonized his melody with majestic triple- and quadruple-stopped chords, but Fryer re-imagines the piece in a full two-handed harmony, often introducing quite sharp dissonances and the occasional extra chromaticism within the overall progressions. Given that it is necessary to produce a very even flow to this music, the transcription is as much as anything a study in pedalling, which Fryer indicates precisely in interchange from pedal to una corda and even third pedal if it is available.